Woodstock Film Festival

The PNYA’s Going to Woodstock

Join us at the Woodstock Film Festival at The Post Production Lounge: The Last Stop

The PNYA is hosting a lounge within the Center for Photography in Woodstock for thousands of festival-goers to relax, enjoy some local food/beverages, charge their phones, and listen to interesting panels and interviews.

We will kick off the lounge with a happy hour on Friday, October 13 and it will run until Sunday, October 15.

This is a great opportunity for our members to escape the city for the weekend, enjoy the fall foliage, share your knowledge on a panel, and mingle with other creatives.

Want to be a part of it? Here’s what we need:

• Swag - fall weather calls for branded hats and mugs for chilly nights!
• Panels - grab a group of colleagues and talk about the state of your industry
• Audio set-up sponsor - calling all our post-audio members. We need your help!
• Food and beverage sponsors - does your brother-in-law run a brewery in the Catskills?

If you can help with any of the above, please email Audra Coulombe audra@themolecule.com

Need to hitch a ride? Isabel Sadurni is coordinating rideshares! Email her at isadurni@gmail.com

Let’s show Upstate NY some love and share why NY is the best place to post!

Post New York Alliance

FREE NAB Panel To Promote New York and Provide Networking Opportunities

The PNYA will be presenting its second panel discussion at the NAB Show New York conference this October. Organized by PNYA Executive Board Member / Secretary Chris Peterson, confirmed panelists include Yana Lehman from Trevanna / Chair of the PNYA, Vivian Connolly from Phosphene / Vice Chair of the PNYA and Ben Baker from VICE, with more to be added.

“It is critical that the PNYA work with influential organizations like the NAB, so we can continue to inform the television industry about the range of post production resources available to them in New York,” enthuses Chris Peterson.

Titled New York: The Big Apple of Post, it will be a discussion of how our state continues to be an industry-leading location for post production.

The NAB is a trade association and lobby group representing the interests of television broadcasters, and as television projects continue to constitute an ever-growing amount of PNYA members’ work, our relationship with the NAB grows more and more important.

Please attend to network with television industry professionals and help promote our post production community.

Where: NAB Show New York (https://www.nabshowny.com), at the Jacob Javits Center, Inspiration Stage 3
Panel Time: October 19, 10:45 AM

Discount: For free admission, PNYA members may use discount code EP14 by clicking on Register Now at this link: https://nabshowny.com.

If you have questions, please email Chris Peterson - cpeterson22@hotmail.com.

Made In NY

Are you a NYC based post production business interested in recruiting new talent?

The Made in NY Post Production Training Program supports the growth of New York City based post production businesses by training a diverse group of New Yorkers for entry-level positions in editing, animation, motion graphics, and visual effects. Program participants will receive no-cost classroom and editing training and then enter work-based learning placements with local post production businesses working in film, television, commercials, and music video projects.

The Made in NY Post Production Training Program is recruiting New York City based businesses in post production to participate as employer partners for work-based learning placements. Participating businesses will be reimbursed for 80% of wages for new hires for the first 280 hours of on the job training.

Program alumni have already been hired on Happy! and Alex Strangelove.

To learn more about the program, eligibility requirements, and application information please visit http://bwiny.org/post/hire/.

Post Factory

SIM GROUP’S POST FACTORYNY APPOINTS ROB SCIARRATTA TO SENIOR COLORIST FOR THE FILM AND TELEVISION DIVISIONS

Post FactoryNY, part of the SIM Group family of companies, is pleased to announce Rob Sciarratta as Senior Colorist. Post FactoryNY, a top New York-based facility that provides post-production services for the television and film industry, has made the appointment to support the growth of their film and television, as well as commercial divisions. Recently, Post FactoryNY has worked on projects including Oscar-winning documentary O.J.: Made in America, American Playboy: The Hugh Hefner Story, and season two of Master of None.

Sciarratta, a five-time winner of the International Monitor Awards for Best Color Correction, will lead the company’s color projects, beginning with the highly-anticipated Tom Cruise film slated for September release, American Made. Additional recent work highlights include Blumhouse Film’s franchise: The Purge: Election Year and the HBO miniseries The Night Of, as well as commercials for AT&T, Coca- Cola, Mercedes, and Beyoncé’s Ghost music video. In addition to his work at Post FactoryNY, Sciarratta will continue his role as an adjunct professor at the School of Visual Arts in NYC teaching Color Correction.

Framestore

Framestore Rejoins Post New York Alliance

Creative Studio Returns to Television Work Alongside Film and Advertising

Framestore is proud to be the newest member of the Post New York Alliance, joining our industry peers in celebrating the vibrancy and creativity of the VFX community.

Founded in London in 1986, Framestore is an Oscar- and BAFTA-award winning creative studio with offices across the globe including London, New York, Chicago, Los Angeles and Montréal. We’ve built a 31 year heritage of genuinely game-changing work, providing best-in-class visual effects, production and direction services for projects across the advertising, television, film, VR, AR and brand content industries.

Framestore’s New York City office opened in 2004 with the intention of servicing the US advertising market, but, as is the case for our entire industry, we’ve continued to evolve year on year. In 2016 the New York office had its most successful year yet with the breakthrough group VR project Field Trip to Mars, helping to secure the title of Ciclope’s Visual Effects Company of the Year.

Last year also saw Framestore’s first foray into broadcast TV work since 2009, having provided VFX shots for the third series of ITV sci-fi drama Primeval. Framestore has now made a fully-fledged return to television, supplying almost 1,000 shots and 550 user interface graphics, plus an award-winning title sequence, for Radical Media’s MARS, a six-part documentary-drama hybrid for National Geographic. The team also worked with Netflix on the chillingly dystopian Black Mirror, visualizing a terrifying spider/human hybrid for episode ‘Playtest’. The work was recently nominated in Best VFX categories at the VES Awards, BAFTAs and Emmys.

Framestore’s New York office has collaborated with major entertainment properties to leverage fan favourite titles within the emerging medium of VR, including HBO’s Game of Thrones ‘Defend The Wall’ experience, and a virtual iteration of Warner Bros’ Fantastic Beasts and Where to Find Them.

Currently in the pipeline is upcoming title sequence work for the hotly anticipated HBO feature documentary Agnelli, on the life of playboy industrialist Gianni Agnelli, produced by Vanity Fair editor Graydon Carter. The titles follow an alchemy-inspired intro sequence produced for 2017’s Semi- Permanent Festival in Australia.

In joining Post New York Alliance Framestore is aiming to forge new creative partnerships with likeminded visionaries, taking risks and developing long-term content to tell narratives far beyond the immediate brief.

More information contact Director of Production and Operations Sarah Hiddlestone (sarah.hiddlestone@framestore.com) or visit https://www.framestore.com/. Follow upcoming and exciting news on Twitter and Instagram, @Framestore, on Facebook at https://www.facebook.com/Framestore/, and on YouTube at https://www.youtube.com/user/FramestoreOfficial.

Light Iron

Light Iron Readies for Another Festival Season

As summer turns to fall, the team at Light Iron NY looks forward to another season of guiding festival filmmakers through the final stages of post production.

Professional color grading is frequently a first-time experience for creatives whose projects have been selected by top festivals, so both our producers and colorists aim to demystify the process. It starts by ensuring that clients feel supported and get all their questions answered in a warm and welcoming environment.

In the DI suite, colorists ask the questions to discern the creative desires unique to each project. In the case of Tallulah (Sundance 2016), director Sian Heder wanted the movie’s look to always be enhancing the narrative, taking the audience on an emotional ride with the characters, “even in subtle ways that they don’t realize”. Regarding collaborating with colorist Sean Dunckley, she stated “there’s something really interesting about having another artist in the room who you feel is bringing their own eye and their own perspective to it, and maybe having you look at things that you didn’t see before in that way. So I felt like I was in very good hands, and I really trusted him.”

Festival premieres supported by Light Iron NY in 2017 include: Patti Cake$, Rebel in the Rye, Bushwick, Walking Out, Lucky, Literally, Right Before Aaron, Hondros, Dabka, and My Friend Dahmer.

As a further commitment to emerging filmmakers, Executive Director of Business Development Megan Marquis joined forces with Panavision NY General Manager Terra Bliss to support the Tribeca Film Institute. Together, they are consulting with the team behind the short film Yes God, Yes – as the project is being adapted to a feature-length movie. In addition to technical and creative guidance to the filmmakers, Light Iron and parent company Panavision will contribute a package of services including camera rental and finishing, valued at $120,000.

The Molecule

The Molecule Brings NY Know-How to VFX Community At Large

In June of this summer The Molecule curated a panel at Disney Studios in Los Angeles called “VFX for Episodic: Magic on the Small Screen.” The Molecule’s Lauren F. Ellis, VFX Executive Producer for shows including Ballers (HBO), Queen Sugar (OWN), and Shooter (USA), moderated the panel.

“New York has benefited tremendously from the influx of episodic TV,” says Andrew Bly, founding partner of The Molecule and co-chair of the Visual Effects Society’s New York chapter. “It was exciting to sit down and share experiences with the studios and larger Visual Effects Community.”

Included on the panel were Paul Rabwin, Executive Director of Post Production at ABC Studios & Eli Dolleman, Senior VFX/Post Executive at Amazon Studios among other visual effects professionals. Chris Brancato, showrunner and co-creator of Netflix’s series “Narcos,” gave the keynote address.

“Between 2009 and mid-2017 the number of scripted episodic series had grown dramatically, particularly due to online services,” Andrew continues. “In 2017 it is predicted that there will be approximately 520 scripted episodic shows on all platforms, many of them infused with VFX.”’

As 2017 begins to draw to a close, The Molecule is looking to 2018 with excitement as it sees the continued increase of episodic series. Already in New York they have seen return of several series to their roster including Shades of Blue (NBC), The Path (Hulu), and Elementary (CBS), and they are currently working on several new series including Happy! (SYFY), Instinct (CBS), and Seven Seconds (Netflix).

Mechanism Digital

VFX to Save Money On-Set and in Edit

Generally considered expensive, I hear VFX having negative connotations when it comes to a film’s budget. Sometimes my VFX studio, Mechanism Digital, feels like the dentist that nobody wants to go to, but know they must. I’d like to help dispel this notion and help position VFX as an opportunity to help save on costs.

When we are doing tent-pole VFX for blockbuster films like Transformers  or Jurassic Park, then sure, those are very expensive, but the larger number of shots we work on are more utilitarian, fix-it in post type shots to help push a film over the finish line.

In pre-production, a good VFX supervisor can make suggestions for digital set extensions to be added in post to augment a much less expensive location. For example, Bravo’s television series Odd Mom Out asked us to add 10 floors to a two-story hotel making it more grand to fit the storyline.

In pre-production, planning crowd duplication will streamline production tremendously by shooting 10%- 25% of the needed extras by crowd-tiling. We are currently working with Joshua Marston on his feature Come Sunday which effectively used this strategy for a large church audience by locking the camera, shooting the crowd in orderly sections, and shuffling actors’ positions for each take.

During the edit, we are seeing more split screen work these days. The Big Sick employed this technique about 50 times giving the directors Michael Showalter more freedom to combine actors’ performances from separate takes. This isn’t so much a new technique, but I think editors are learning they can take advantage of this trick. Even with handheld cameras we can marry two different shots together seamlessly. This can even help on set if a director has two good but separate takes, the crew can move on and stop spending costly minutes for that “one more take”. We have also used this orchestrated technique in pre-production for ABC’s new Deception series to create twins from one actor so he could interact with himself.

They say a film is written three times; once as a script, again on set and a third time in the edit. It’s common to use a shot intended for one part of a film to help fill out another scene. VFX can help with continuity as in Love Is Strange, where John Lithgow is married during the film but we needed to remove his wedding ring in a shot that was used in a scene prior to his marriage to Alfred Molina. Maybe a film can be written 3.5 times with VFX?

Although many VFX are not executed till after the edit is locked, it’s never too early to get the VFX house involved. When in pre-production, during shooting or mid-edit don’t hesitate to reach out to your favorite VFX team and start up a conversation. All parties, the film and even the audience will benefit!

About Mechanism Digital
Mechanism Digital is an award-winning CGI, VFX compositing studio.

East Coast Digital

East Coast Digital: Proud to be a part of the New York post community for almost two decades.

For 17 years, East Coast Digital has provided stellar support to the film, broadcast, commercial, and digital communities in New York City. Last year, East Coast Digital expanded its enterprise and opened its second facility in Midtown, which features twenty-two edit suites, a Resolve color suite, as well as a spacious bullpen. With two locations, one in Soho, and one in Midtown, ECD offers the perfect environment for content creators to achieve their creative vision while leaving their technical worries behind.

After opening the second location, owner and Chief Technology Officer Scott Kleinberger brought Stina Hamlin on as Director of Post Production and Business Development. Stina, who is a veteran member of the Producers Guild of America (PGA) and committee member of the Women’s Impact Network, brings to East Coast Digital over fifteen years of experience in the TV industry as a Production Manager and Post Supervisor, as well as a passion for producing cinematic virtual reality and 360 storytelling. With Scott’s technical expertise and Stina’s Post Supervision experience, East Coast Digital is the perfect place for creatives to be supported both technically and creatively.

Recently, East Coast Digital has worked with clients in the commercial world, television, independent film, feature narratives and documentaries. Most recently, their facilities have been heavily involved in working in virtual reality and 360 production and post. In addition to completing their own award-winning projects they have worked with leading 360 companies like Total Cinema 360, USA Today’s VRtually There and consulted with many more about production and post production workflow. Since beginning work in the VR space, East Coast Digital has won two Samsung Creators Awards for Say Our Name and Cardboard City and have premiered at the New York Film Festival.

Through its newly launched New Media Division, East Coast Digital has produced, filmed, and is currently in post production on the US Fund for Unicef’s first venture into the world of 360 and virtual reality. For the Unicef Kid Power Band initiative they went to Mozambique, Africa to film a 360 documentary about a child that is a part of Unicef’s Kid to Kid Radio Program in the Xai Xai province. In collaboration with Caitlin Burns and State Media, East Coast Digital produced, co-directed, and filmed the project. It will start post production later this year under the direction of Stina Hamlin, Post Producer of video content for the Unicef Kid Power Band.

East Coast Digital continues to provide support to the creative community through its mobile edit system rentals, color grading, edit suites, shared storage solutions, asset management and individualized tech support.

We are looking forward to a productive 2017 and are excited to be a part of the Post New York Alliance. For more information, contact Stina Hamlin at stina@eastcoastdigital.com or Scott Kleinberger at scottk@eastcoastdigital.com.

Sync Sound

Sync Sound, Inc. is celebrating 33 years in business!

Owners Bill Marino and Ken Hahn continue their long partnership in recording, sound design and mixing for television and film.

This year we completed the third season of Tina Fey’s Netflix series The Unbreakable Kimmy Schmidt, as well as the fifth season of the FX series The Americans. Both of these award-winning and critically-acclaimed series will be returning in 2018!

Ken Hahn recently put the final mix touches on the Metropolitan Opera’s Der Rosenkavalier, concluding season eleven of Great Performances at The Met. The series will begin its twelfth season this fall on PBS. Ken also mixed Falsettos for Live at Lincoln Center, another PBS co-production.

The team at Sync Sound is thrilled to have been chosen to sound design and mix The Who Was? Show, a new Netflix family variety series based on Penguin Workshop’s bestselling Who Was?  books. The series will premiere next year.

In the past year, the Sync Sound staff mixed five PBS/American Experience Documentaries – The Boys of ’36, Tesla, Rachel Carson, Walt Disney (4-hours), and The Great War (6-Hours). This year, we’ll be working on additional AE documentaries, including: The Gilded Age, Tuxedo Park, and Under the Big Top.

We also provided sound services on the documentary This Is Everything: Gigi Gorgeous, which debuted on the new YouTube Red streaming service. This Is Everything is an intimate look at the life of the groundbreaking transgender beauty content creator, by the multi-award-winning director, Barbara Kopple.

Not all work is serious, some is comedic satire…or both as is the case with Comedy Central’s special, Jordan Klepper Solves Guns, which we sound designed and mixed for a June Premiere.

In addition to long-form work, we’ve kept busy with sound design and mixing short-form projects, such as the hilarious Warren G. Harding “Feature” Trailer segment for Last Week tonight with John Oliver. We’ve also worked on over a hundred corporate and commercial spots for Toyota, Lexus, and Walgreens.

Jay Fisher, our Senior ADR Mixer, continues to impress our ADR/VO clients and actors with his fast, efficient, and high-quality technical talents. Over the past year, Jay has recorded for numerous TV shows and feature films, including: Snatched, Thank You For Your Service, Dead on Arrival, Shimmer Lake, Kings, The Accountant, The Lego Batman Movie, Independence Day: Resurgence, Awakening the Zodiac, Westworld, X-Files, Better Call Saul, Gotham, Empire, Narcos, The Crown, The Strain, Nashville, Gilmore Girls, Ten Days in the Valley, Arrow, Fargo, Shades of Blue, Mercy Street, First Dates, Independent Lens, Frontline, Years of Living Dangerously, Hood Adjacent, Ray Donovan, The Real O’Neals, Sherlock, Claws, Supernatural, Scandal, How to Get Away with Murder, Blue Bloods, Doubt, Rogue, Code Black, Bates Motel, Magicians, Cyberchase, Outsiders, Funny or Die, Anne with an E, Lethal Weapon, Lucifer and more.

In the news… Sync Sound has 5+ production offices/edit rooms for lease. The spaces are finished, quiet, and available immediately for long or short-term use. Please contact Christina Faist-Glass at christina@syncsound.com for more information.

The-Artery

Renowned Art + Technology company The-Artery, which is comprised of some of the most talented and award-winning digital artists from around the world, is expanding its operations into Los Angeles and has named industry veteran Karin Levinson as its Head of Features and Television Content. Levinson will helm the new LA office, and will spearhead new business opportunities on behalf of the company.

The-Artery has recently produced visual effects for several feature film and television projects. These include Netflix’s thriller film The Discovery, starring Robert Redford, Jason Segal and Rooney Mara; the critically acclaimed feature film Norman, starring Richard Gere; the Netflix series The Get Down, and Showtime’s hit series Billions. Recently, the company has also produced visual effects for advertising campaigns regarding Allegra and IZOD; VFX featured within the television promotion of the Broadway show Anastasia; visual content for the MTV VMA Awards; and creating Social Media content for Pepsi.

Deborah Sullivan, EP and Managing Director for The-Artery, said, “We are excited to have Karin join our team and to expand into LA where so many clients and potential new clients are based. Karin has a vast array of contacts across the mediums of television, film, social media and advertising. Having her based in LA, we're now in a stronger position to broaden our foothold within the entertainment industry and to deepen our visibility within Hollywood and beyond.”

Adds Karin Levinson, “I’m thrilled to be a part of The-Artery given the company’s internal talent and broad range of creative and technical capabilities. Our creative studio provides a high-end, turnkey approach to content creation for any screen, on a global scale.”

Levinson brings a unique and diverse background to The-Artery. Prior to joining the creative studio, she served as the VP of Marketing and Content Development at Eclipse, an entertainment advertising agency. She was also the Director of Marketing and New Business Development at the award-winning entertainment advertising agency Ant Farm.

Earlier, Levinson had been the EVP, Features & Television, at Artemple – Hollywood, during which time she worked on HBO’s series Vinyl, the Warner Bros. film Entourage, and New Line Cinema’s film War Dogs, as Artemple’s Executive Producer.

Levinson also worked for several years at the renowned visual effects house Gravity (formerly RhinoFX). While there, she was responsible for procuring VFX work on such feature films as Crazy, Stupid, Love, Tower Heist, The Adjustment Bureau, Begin Again, Salt, The Other Guys, Arthur, Ghost Town, The Reader, I Love You Phillip Morris, and The Nanny Dairies, among many others.

Prior to that post, Levinson served as the executive producer and VFX producer at Black Box Digital, which was renowned for its groundbreaking design on Steven Spielberg's Minority Report and A.I. While at Black Box Digital, she was also involved with such films as Mr. & Mrs. Smith, Hellboy, Domino, The Island, National Treasure, After The Sunset, and Bee Season.

Chapter Four

Chapter Four is a New York City-based, full-service production company providing audiovisual products and services for traditional as well as immersive and emerging media. Founded and run by a team of award-winning creatives, filmmakers and engineers, we are dedicated to delivering some of the most cinematic, ground-breaking and interactive content. In our continual efforts to create a truly immersive experience, we are proud to be one of the few companies currently with a comprehensive end-to-end workflow, including spatial audio.

Chapter Four has been an active member of the National Association of Broadcasters for many years, annually participating in their iconic NAB show. This year was no exception! We had a blast checking out the new content and technology being presented, as well as meeting some amazing folks in the VR and film industry. After a successful show in Las Vegas, we set our sights west towards Los Angeles to attend the Vision Summit, catch up with friends and colleagues, and meet prospective collaborators on the sunnier coast.

How does this year's NAB and Vision Summit experience differ from others, you might ask? Chapter Four decided to forego the popular mode of east to west transportation for a more daring journey: That's right...we drove.

On April 17th we kissed our loved ones, friends, pets, and friend's pets goodbye as we set sail from Brooklyn on board the endearingly christened "USS Karlen" (re: Dodge caravan), embarking on a nearly month-long cross-country adventure towards Los Angeles (think Oregon Trail, but with more snacks and less dysentery). We drove over 5,000 miles, passing through major cities and small towns, stopping along the way to hug and high five some of our beloved clients and collaborators. But what kind of car full of nerds would we be without taking the opportunity to record 360 videos and ambisonic sounds in the most breathtaking natural landmarks this country has to offer? We'd be a car full of regret, that's what.

As anticipated, the Grand Canyon was definitely one of our favorite locations! In the picture below, you can see us geeking out with our ambisonic recording equipment capturing this unique soundscape. After Vision Summit, we’ll be heading back to NY on the USS Karlen by way of Bryce Canyon, Denver, Chicago, and Toronto, for more recordings, high fives and general merry-making. We’re looking forward to seeing all of you and sharing more coast-to-coast tales at the next P.I.G meeting!

Magic Drop

Summer of Sync

Summer 2017 has been an exciting time for Magic Drop. We’ve had some big sync-licensing placements for our amazing roster of bands and composers. Highlights include music from Shy Layers in the return of a popular Netflix series, a track from Warren Lee in Irish director Aoife McArdle’s upcoming feature Kissing Candice, music from Ashley Eriksson in a series of Haagen-Dazs commercials for Japanese TV, and original music from Calvin Markus for VICE. More music supervisors and filmmakers have begun to take notice of Magic Drop, and in turn we’ve been growing our catalog with music from unique artists working in a wide variety of musical genres. Take a look at www.magicdropmusic.com/artists.

Invu Media

Invu Media is a boutique post facility located in Brooklyn, NY, and is the only third-party provider solely dedicated to Quality Control in the New York area. We have over 20 years of Master QC experience working with major film studios, independent film distributors, cable and streaming media providers. We work with both tape and file based content as well as a DCP QC workflow.

Invu Media's QC operators monitor all phases and facets of your project to ensure that your content is delivered exactly as it was intended. We work closely with our clients to ensure that all deliverables are met and that all QC's are completed in a timely manner. We bring a level of diligence and professionalism, and we provide a quality work product, which is second to none in the New York market.

Some of the TV shows we are currently working on include: Vice on HBO and A World in Disarray, Showtime's The Circus  and Trumped : Inside The Greatest Political Upset of All Time, and AMC's Ride with Norman Reedus. We recently wrapped up the features Sidney Hall and Golden Exits  for Sony Pictures, and the National Geographic Documentary Hell on Earth: The Fall of Syria and the Rise of Isis.

Buttons NY

Buttons NY has been busy with new projects and facility enhancements.

Recent Projects include Jake Gyllenhaal ADR for Life, Danielle Radcliffe ADR for Jungle, Feature Doc mix for WNET Five Finger Discount, and Color for Documentary features, The Karma Killings, The Doctor from India, Glow for Netflix, and Elizabeth Moss for Top of the Lake. 2017 facility remodeling includes 6 additional Avids, 48TB TerraBlock fibre central storage, 2 more edit rooms, 2 more assistant edit systems in bullpen, improved DaVinci Color room. We overhauled our 5.1 Cinema mix stage, floating floors and floating 2 new walls, wiring for Dolby Atmos 7:1.4 in the near future for immersive VR 11.1 sound.

"For over thirty years now, since my original digital days at Sound One in 1985, the story has not changed. Sound is still Hollywood's secret sauce, and what we can do now includes raising the dead. I literally can pull off-mic dialogue up 30-40 DB. We can create sound tracks that are ever so realistic, while they are fabricated from imagination."

And the goal and result is the same as years ago... "... to create a soundtrack that is not noticed, because it is believed to be real when it is actually fake. Yes, fake... I believe that at this point in audio post all content has the same objective. that is, to be a cinematic experience. An interesting example is when I am asked to sound design a commercial project, and I use film techniques to adjust on-camera interviews for IBM, in a film dialogue approach to completely fool the producers into thinking that what they are hearing is what they recorded, but it is not. Another example is being asked to save a scene from an MTV show that the sound mixer's mic totally crapped out, and I bring in the husband and wife, teach, direct and record the ADR... add all the ambience and treat the recordings with reflection verb and equalization... all to the producer's surprise that I actually saved their critical scene. These are the kinds of things film sound guys do every day, never being noticed, as the audience completely buys what sound we do,... that what we do is believable when it is actually fake."

It is magic, and completely intangible, and 100% imagination.
I love what I do... :-)

Rich Macar
ButtonsNY
Owner/ADR Mixer/Sound Supervisor

Big Film Design

Big Film Design’s biggest project this summer has been producing nearly 300 vfx shots and creating graphics for Spike Lee’s ten-episode Netflix series, She’s Gotta Have It. BFD’s team provided a wide variety of shots including green screen comps, cosmetic work, screen graphics and animated song lyrics for the series, based on Lee’s film of the same title.

BFD designed titles for Steven Soderbergh’s return to filmmaking, Logan Lucky, and also created title sequences for Michael Cuesta’s American Assassin, Ritesh Batra’s Our Souls at Night, Peter Landesman’s Felt, Michael Mayer’s The Seagull, Trey Edward Shults’ It Comes at Night, and Boaz Yakin’s Boarding School.

The Looping Division

PNYA Company Member THE LOOPING DIVISION Announces Loop Group Projects

Partners Jason Harris and Peter Pamela Rose (ADR Loop Group Coordinators) are happy to be coordinating Loop Group on the following Projects:
CBS’ Salvation, Epix’s Get Shorty, Comedy Central’s Broad City, TBS’s The Last O.G., & Search Party, Amazon’s Sneaky Pete, Mozart In the Jungle, & Z: The Beginning of Everything, SyFy’s 12 Monkeys, SundanceTV’s Hap and Leonard, Netflix’s Master of None, FX’s The Americans, as well as such films as: Julia Hart’s Fast Color, Jim Jarmusch’s Paterson, Brad Anderson’s High Wire Act, Marc Meyer’s My Friend Dahmer and Fritz Boem’s Wildling.

Email: JasonHarrisTLD@gmail.com / PeterPamelaRoseTLD@gmail.com
Cell: 917-405-5101 / 917-721-3395

Keith Croket

Keith Croket Goes East

Many have heard the expression "Go west, young man" but few have heard "Go east, young man". However, that is exactly what editor Keith Croket did recently when he moved back to the NYC area. As Keith explains "I had heard of and knew of people who moved out to Los Angeles for job opportunities in post-production but I never really heard of anyone moving back. In fact, most of my jobs in L.A. came from connections I had with transplanted New Yorkers."

Keith had enjoyed a decade out in Los Angeles in what was a successful transition from assistant editor to editor. He is an editor who specializes in narrative features and TV. His biggest credit was cutting a feature film for actor/director Dax Shepard called Hit & Run. It was released theatrically by Open Road Films in over 2800 theaters. His last year out west, Keith cut a low budget teen comedy called Laid in America starring two popular YouTubers which was picked up for DVD/Bluray/Digital distribution by Universal Studios. Universal was so enthusiastic about the film that they held two premiers for it, one at the O2 arena in London and one at Universal City Walk in L.A. Just prior to leaving, Keith cut a season for the Fox comedy show Cooper Barrett's Guide to Surviving Life.

So why come back east now? "My wife and I came to the decision that we wanted to be closer to her family that lives in the area. I knew that the New York post-production scene was thriving and that there was more opportunities now than ever before. With help from the NY tax credit program, both feature films and especially episodic TV post-production was booming and those are my two areas of expertise. This seemed like the best time to make this move. I hope my success here will start a reverse migration."

You can view Keith's work at www.KeithCroket.com or contact him at 917-838-9924. He is represented by Sara Alexander of Alexander Creatives.